It’s been literally AGES since we’ve done a giveaway, so we thought it was about time we caught up with ourselves and give you the opportunity to win a pedal, for doing very little at all.
It’s all contained within the video that Brian posted yesterday… In the video, he’s dissecting the classic track from Alice In Chains – Them Bones. As you may remember from my blog post a couple of weeks ago about breaking down Bohemian Rhapsody, listening to the raw tracks is most definitely our thing at the moment, I mean… I’ve even been listening to songs by Rick Astley in stem form – it’s like an addiction that is almost impossible to break once you get into it!
This track is enormous… well, the guitars are anyway... Brian takes them apart track by track to give you an idea of how HUUUGE the tones are.
We got a great insight from Wampler Artist Andy Wood about the recording process, how he hears it… “Judging by the tones there definitely seems to be multiple mics on each track, that’s where the real magic is happening. It sounds like maybe even a pair of stereo room mics are involved that creating that 3D effect. once you go left and right with that it ends up HUGE. None of what I.m saying is based on anything other than what I’m hearing and my own experience in the studio.”
What I love about this song is that the guitar groove that dominates the song gives a times signature of 7/8 with the chorus reverting to a straight 4/4 groove (this, of course, is open to interpretation but that's how I hear it)… certainly makes it stick out from the rest of the field!
Guitarist Jerry Cantrell said in an interview with Guitar World in 1998 when asked about the time signature – “I really don't know where that comes from; it just comes naturally to me. I could sit down and figure it out, but what's the use? Off-time stuff is just more exciting — it takes people by surprise when you shift gears like that before they even know what the hell hit 'em. It's also effective when you slow something down and then slam 'em into the dash. A lot of Alice stuff is written that way — 'Them Bones' is a great off-time song.
Drummer Sean Kinney said about it in an interview with Rhythm Magazine in 2016 -
"I remember that one p**sing me off because it was a pretty straightforward sort of metal-edged tune. I remember working on it but not wanting it to be straightforward. I had to figure out what kind of groove to put on it. The grooves were disjointed, timing-wise. I remember getting pretty frustrated, knocking over the drums and wondering what I could do there. It took a little time to figure it out and make it more unique than it could have been. I had to wrap my head around it and once it clicks you think, 'Ah, I'm gonna try it this way.'"
Anyway, enough of me geeking out about cool time signatures (I really hope he doesn’t dissect anything by Dream Theatre or Rush anytime soon), here is the video that gives details about the giveaway…
For reference, here is the original track from the official Alice In Chains YouTube channel.
Good luck people!
Quite often you will see a conversation on the internet - usually started by a meme - that ends up with a few people arguing that playing isn't all about the gear, it's about the player. But what happens when the gear transforms the player? Here is a short piece sent to us regarding this by a moderator of our tone group on Facebook, Andrew Gordon.
"Can a new guitar pedal really make you a better player?
If you had asked me this question two months ago I would have "No! Don’t be ridiculous!" But since finding a couple of key pedals that really work for me I appear to have levelled up in my playing. Now, is it the pedal that is making me play better or is it that I am playing more and understanding more and really starting to find myself as a player?
I think the answer is, in fact, both, but it may not have happened without that pedal.
Let me put some context to this, I play the guitar as a hobby and buying and selling gear has also been my hobby for several years. Of late I’ve finally got an interest in theory and becoming a better player than I currently am. I’ve been watching more theory videos on youtube than gear videos and really trying to implement what I am learning. I have hit a point where I feel I have a much better understanding of some of the theory and where and how I can actually use it. It appears that you really do get out what you put in and you would think at my age that this would be a no-brainer, but if I am being honest I let the gear chase get in the way of actually playing and getting better. I’ve not only seen this in myself but I have seen it some of my other “tone chaser” friends and even some in real life too! It’s easy to lose sight of what’s really important, playing.
It’s been quite a few years since I have been in a band and I am starting to feel now that it is really time to get something together not only to have fun and jam, but to keep getting better as a player and to also make my gear relevant apart from my love of it.
But how did a pedal bring on this realistic revelation?
It started with one video on youtube about one pedal and I watched it over and over and over again to point where I pinpointed the exact sound that I had been hearing in my head for the last five years or so, but I had finally heard it in gear. I have chased many different tones over the years but this one had always been what I thought was my “core” tone. A while back I found out that I am a better player on Telecaster, I don’t know exactly why or how this happened as I always thought I was a strat player and that was it. But again I was wrong. For some reason, I am more melodic, more honest and expressive player with better tone on a Tele. I ordered the pedal at my local store and waited for its release. Once I got it and plugged it in and dialled it in over a couple of days something had changed. I was playing better! I was sounding better too!
Now we all love chasing tone, I know I do but sometimes the chase is not as good as the results you can achieve. The truth is you need to chase gear to find out what makes you, you, and how you can get to the point where you are sounding and feeling your best. It can take some time to find the right gear, but you also need to put the time in getting to know how the gear works for you properly rather than just playing it for a weekend and then flipping it straight away. It’s kind of like finding your life partner, it takes time and effort and you do get what you put in. Happy chasing and finding the tone zone."
I've read this a few times and finding myself agreeing with it more the more I re-read it. The reason I relate to it personally so much is because the latest interpretation of my tone, from my gig board, has complete revitalised my playing. I use three gain stages on my board, the Tumnus and the Paisley Deluxe. I was previously using the Dual Fusion instead of the PaisleyDog, but needed some more 'grunt' so swapped it out when the PaisleyDog was released. What I found is that because the UnderDog side is more gainy, more aggressive, I was starting to dig into my guitar more and finding more inspiration when improvising with the band. Not only did this make me sound more convincing in being me, I was also setting up my rig at home to just play it more. When I do this, I found that because I relating to my tone that much more I was wanting to learn more about what I was playing... Now, I'm no slouch when it comes to music theory, but then again, Tom Quayle is one of my favourite friends so I am painfully aware that I actually know very little. The more I played, the more I was analyzing what I was playing and then looking up teaching sites to work out what I was doing... this then pushed me into new areas which pushed me into more and the cycle of learning is now at it's most prominent it's ever been. The more I enjoy my tone, the more I play. The more I play, the more I wonder how I can make myself sound more interesting. The more I make myself sound more interesting, the more I want to make myself sound even more interesting. So, as far as Andrew and I are concerned, that by way of inspiration to play, gear can and does make you a better player.
When you are lurking on as many gear forums that I am (it’s no wonder my sanity is often questioned) you start to notice patterns forming, you see the same questions come up, and quite often you get to see some great answers and also some terrible ones. I was explaining to Mrs Wilding a couple of weeks ago that at times it feels like I’m in a room with about 100,000 other people and I can hear all the conversations in the room at the same time… Sometimes, the conversations just pass you by but others stick out, especially when you hear the same conversation happening over and over again.
One of those topics that comes up time and time again is “boosts” – the different kinds and where to place them, even which one… so I’m going to write an answer at my level, which is idiot level, to try to explain it all. This may contain information you already know, but hopefully, it will contain some information that you haven’t consolidated yourself yet so there may be something useful in here for you!
When you boil it all down, there are (in my opinion), 3 kinds of boosts that guitarists favour. A clean boost, a treble boost and what’s often classed as a dirty boost, this could be called a coloured boost, or a tone shaping boost or a multitude of other names. The main consideration when deciding which is for you is what you fundamentally want it to do, and where you plan to put it in your chain. My own live rig runs two boosts, one pretty well up the front and one right at the back. Unsurprisingly, they are both Wampler – the Tumnus Mini sits at the front (after the compression and pre-gain modulations) before the main gain stages and the dB+ is right at the back (well, it sits before the reverb pedal but that is an always-on pedal so it doesn’t count!) and acts as a literal volume boost.
The thing that kinda makes me smile is when someone asks online “Recommend me a clean booster” and the thread instantly fills up with shouts of “EP Booster”, “Tumnus”, “TS” and the like and more often than not no one will stop to ascertain what they need, it may be that they need a dirtier boost or not. I would say that 99% of the time the dirtier version will be better, but you know….
The clean boost does just that. It boosts the output of the signal coming in before it goes out. A lot of them are sold on the basis of a HUGE amount of boost, and for me, that kind of goes against the intention of them. Putting a clean boost in front of your gain stages will just increase the signal going in causing them to clip quicker, so you kind of get more of the same – where’s the fun in that? So, in my opinion, clean boosts are much better situated at the very back of your chain to ensure that when you go in for a solo, everyone can hear you over the rest of the band. Of course, this is not a hard and fast rule, a lot of people love their clean boost in front (especially if you are driving amp gain) because, well… they love their tone. So, happy days. But, once you start enjoying the beauties of a dirty boost it’s hard to ever go back to clean for pre-gain. In a nutshell, the classic clean boost will not add any clipping and it will NOT change the EQ of the signal, as EQ and clipping are so closely connected when you think about pedal dirt, it’s hard to separate them fully.
Kind of self-explanatory… takes the higher ranges of the tone and boosts it, this will in turn cause whatever sits behind it to clip into overdrive much quicker based on the frequencies that are hitting it.
Now, this is where the real fun starts, well it does for me anyway. Thinking about it, I actually use 2 dirty boosts in my rig as I run the c2 side of the Paisley Drive Deluxe into c1 and only tend to use it for high gain stuff… So, why do I do this? Well, it’s all about the options it gives me with tone shaping, and how it makes my guitar feel under my hands. The amps I play with are set at totally clean at all times, so when it’s just the Tumnus that is on it kind of gives it a little nudge, adds very little gain (clipping) and the volume is set to unity. So, it’s not really pushing the amp in any direction, it just throws a gentle EQ curve across everything while giving it a little bite. It’s barely noticeable on the clean sound, but when it’s put on when the PaisleyDog is engaged, it fills it out SO much I can’t really describe it. Everything is warmer, fatter and it really pushes it forward. Not in a way that it makes my guitar sound louder, just fuller. When I then kick in Paisley Drive side (which is effectively set at full TS mode) the combined boosting of the TS frequencies and the K style frequencies produce a wall of sound that is huge. As I use a programmable looper in my rig, I have the following combinations available to me…
1) Clean, 2) Tumnus, 3) Paisley Dog, 4) Tumnus -> Paisley Dog, 5) Paisley Drive -> Paisley Dog 6) Tumnus -> Paisley Drive -> Paisley Dog.
Main Dirve section on the right (c1) with the TS boost on the left (c2)
My hidden boosts. dB+ for final solo boost and Tumnus Mini for pre, pre boost.
Now, the Paisley Drive is set somewhat different than the Tumnus, it’s set just above unity volume with a little more gain applied so when it hits the Paisley Dog side, there is an increase of overall gain as well.
With this in mind, how does all this work technically? The best way to think about dirty boosts is that it’s not about adding clipping to the chain, well, it is, but it’s more about the EQ shapes that they provide into your core signal. EQ is everything! As the Tumnus is a K style and the Paisley Drive is TS style (in one of the modes, and that’s the mode I use it in), I’m adding a largish amount of EQ to my tone when they are kicked in. The TS brings in a hump that centred at around 723hz and the Tumnus centred around 1k (these can and will change when you use the tone controls so that’s not gospel), the change in the character and depth of the main overdriven tone is quite remarkable. It does bring in a little clipping (gain), but you know, what it mostly brings is a jump in response from the EQ stacks, so I can easily control the feedback point and sustains for ever. When people look at the settings on my pedals they are quite surprised how low the gain is set on each, because when they are stacked, the inherent EQ shapes are bringing the gain that’s already there front and centre, with a much more 3D depth... that’s not how it works, but that’s how it feels.
If you are thinking about a booster pedal, think about what you really need it to do and where you should place it in your chain. Are you after a literal boost for your solos or are you looking for something that changes your tone into something else. The vast majority of people want the latter I think, so the choice then is which voicing you want to bring in – most people instantly think about a TS or a K, but then again there treble boosters (that explode those higher frequencies that bring the character of the subsequent drives/gain stages to a whole new place), or pedals like EP booster that bring another element of width and fullness of its own character, I’ve seen a lot of boards that have an EP at the start and at the back, purely because the warmth it brings also sounds great as an end of chain boost as well.
As I’ve now been using the double boost pre-gain for quite some time now, I’m pretty certain I won’t change as it works so well, but, the older I get the more I start to think of downsizing, so who knows? Maybe we need to do a triple pedal that utilizes both kinds in a single box with one killer core gain stage at the end (I wish I was famous, I would totally have that as my signature pedal). With all this in mind… what is a clean boost in your mind – it is about clipping? Is it about volume? Should EQ play a part in this?